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ACA Library Artist's Book Collection
The SCAD Library in Atlanta includes a permier collection of over 2,100 artists' books. Artists' books are works of art that experiment with the potential of the book. The genre includes immense diversity in shape, medium, and content. SCAD's collection contains unique works by individual artists as well as small editions and items from fine arts presses. The collection is unusual in its variety; it includes works from more than 1,000 artists and has a deep holding of books ranging from the 1960s through contemporary works. An especially unique aspect of SCAD's collection is the group of Nexus Press books, which is the largest of its kind. Nexus Press was a fine arts press in Atlanta that was in production from 1973-2003.
Exposure
The value of the SCAD collection was recognized early in 2008 by the receipt of a grant from The Halle Foundation. This grant funded a student exchange with a prominent fine arts university, Braunschweig University of the Arts, in Germany and an exhibition of the collection.
The library hosts an annual Artist's Book Symposium which includes lectures, presentations, and workshops related to the study of book arts. In conjunction with the symposium, the library holds an annual Student Artist's Book Competition. Participating students have the opportunity to win one of three purchase prizes and be entered into the permanent collection.
SCAD's philosophy has always been that the Artist's Book collection is a teaching collection. The library offers subject specific classes each quarter to a wide variety of majors. Students, faculty, and the public can make appointments to visit the collection, handle the items, and in doing so gain inspiration for their own creative projects.
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Ken Leslie's circular, die-cut accordion book explores the concepts of time and space with photography and text. Space + Time is a Nexus Press book.
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Specimen was awarded the First Place award in the 6th Annual Student Artist's Book Competition and was created by Printmaking Graduate student Elizabeth Castaldo.
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Russell Maret: "The type specimen is a curious hybrid in the history of the book. Born of a base necessity—the need to sell type—the specimen quickly took on a life of its own and fulfilled a parallel need to delight and entertain. Part portfolio, part brag sheet, the type specimen allows the designer to present the best-case scenario for a specific typeface, to show off its finer aspects while presenting an ideal method of use. In this way, the type specimen is flight of fancy and style manual combined, an exercise in utility heightened and illuminated by extravagance. Some of the more elaborate type specimens, like those of William H. Page and Co., are suffused with a playful futility, a special knowledge that, once sold, the types displayed will never be treated with the same reverence or care. But all type specimens, to some degree, are conceived in that rare instance in which commerce plays second fiddle to imagination, when the demands of industry and utility enhance, rather than diminish, the expression of a creative impulse."
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Title and statement of responsibility from portfolio-style paper wrapper. Limited ed. of 50 signed and numbered copies. "[C]ollaboratively created and produced during the summer of 1996 ... for the Dieu Donné Papermill-sponsored 'Art of the Matter' paper collaboration symposium in October of 1996."--Colophon. Item consists of two sections. One section titled Spirit land : Arizona has the poem "Sonoran desert unfolding" by Gary Paul Nabhan with a partial list of endangered, threatened, and protected plants in Arizona. The other section titled: Spirit land : Oregon has the poem "Oregon reunion of the rare" by Kim Stafford with a list of endangered, threatened, and protected plants in Oregon. Made of four folded handmade sheets sewn together. Two sheets made by Margaret Prentice create the Oregon section. That paper contains fibers from various plants grown in Oregon. The other two sheets of paper made by John Risseeuw create the Arizona section. That paper contains fibers from various plants grown in Arizona. John Risseeuw made the portfolio-style paper wrapper from a mixture of Arizona and Oregon fibers plus soil and crushed shells. All text was handset and letterpress printed by John at his Cabbagehead Press in Tempe, Arizona. Multiple-block reduction woodcuts were cut and printed on an etching press by Margaret in her studio in Eugene, Oregon. Signed by all artists and poets. Oregon book is edition number 8/50.
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Limited edition of 90 copies, numbered and signed by the seven contributing students. Savannah College of Art and Design owns edition number 78/90. Introduction inscribed by prof. Kitty Maryatt. " ... Vandercook presses were used in combination with Zerkall Book Laid paper and a modern aluminum binding to create a 21st century book ..."--Colophon. "The process for imagery included ... carved linoleum blocks, split fountain, pochoir, dry-mounted fabric, and coloured pencil. The front and back matter were printed in 14 and 12 pt. Optima ..."--Colophon.
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Four poems based on the seasons accompanied with words from photographed gravestones.
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Laser print and letterpress on paper with hardcover folio.
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Ink, letterpress, and laser print on paper in a hardcover case.
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"This book was inspired by a 19th century porcelain doll shown on an Antiques Roadshow TV program. The doll's secret was unknown to its owner, who was very surprised by it's "fortune telling" power. The "fortunes" were hidden within the folds of its paper skirt, as they are within the folds of the pages of this book."--T.p. verso. "This book published in a limited edition of 49 copies, by De Walden Press, Malvern, England."--P. [5]. Savannah College of Art and Design own edition number 15/49. Signed by the author/book artist.
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Square purple velvet hard covers held together with gold ribbon; front cover has shiny gold paper triangle accent; money-green triangular origami-like pages, handset type; engraving of cat and bird drawings printed via letterpress on painted paper. Accordion fold by triangles, connected in one corner. Folds form semi-circular arch as covers rest. Limited ed. of 43 copies. Savannah College of Art and Design owns edition number 10/43. Signed by the author/book artist.
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"This special edition ... was printed from hand-set Samson Uncial type onto kakishibu, a persimmon-washed handmade paper ... The text, which is housed in an accordion-style binding, may be unfolded and read in hand, stanza by stanza, or opened entirely, thus revealing all forty-three, fourteen-line stanzas. Fully extended, the book is fifteen feet long. The image of a river undulates alongside the poem ... The river is printed from photopolymer plates in five colors gradually intermingling one after the other. The book is held within an enclosure of handmade papers--the outermost being a loft-dried, 100 percent raw flax sheet made under the direction of Timothy Barrett at the Center for the Book Papermaking Facility at the University of Iowa. The enclosure is lined with kakishibu on which is printed a map of the world, the first to show the world's currents, drawn by Athanasius Kircher in 1665. The map is hand-tinted in five colors echoing the colors of the river. The enclosure is fastened with alum-tawed goat skin and bone. The design, press work, and binding are by Carolee Campbell at Ninja Press."--Prospectus.
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Lisa Rappoport: "In a dark alley, Philip Marlowe runs into concrete poetry. The Short Goodbye is a short found book. Each sentence in it was borrowed from Raymond Chandler's The Long Goodbye; quotes about coffee, whiskey, guns, lips, eyes, sex, and gimlets have been formatted into thematic typographic shapes." Lisa Rappoport, Colophon: "The Long Goodbye is a long novel by Raymond Chandler. The Short Goodbye is a short book by Lisa Rappoport, more or less a found book: Each sentence in it was found and borrowed from The Long(er) Goodbye. Chronological sequence has been preserved within each page. The type is handset Glamour Light, with noirish moments of Shadow, plus Centaur & Arrighi here. ... The photographs were shot by myself with the generous collaboration of the models, Will Shumway and Gene Tierney. Speaking of shooting, Mark Schacht used a 9mm pistol to fill the covers full of daylight."
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"Into screen-studded, phone-riddled public space, The Square introduces a figure intent on capturing an everyday scene. Among the vacuums of telepresence and dislocations of real-time, in the face of a multiplied oblivion of setting, this allegorizing figure counts on material detail to sum up a whole for which it will come to stand. Yet the moment will not be framed as such. Even within the grid of the daily, everything marks its own time. The resulting composition is not an image but a score." granarybooks.com
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David Short's book Tree was awarded Second Place in the 3rd Annual Juried Student Artist's Book Competition.
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This essay was first published in the Sinister Compendium, Vol.3, No. 1. Kerri Harding: "The story, originally published in The Sinister Compendium about being an artist model, was of interest to me because of my own experience with modeling. What I find compelling about this story is the honesty about what a person can learn about themselves by taking their clothes off in front strangers."
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Treading the maze is a spiral bound dos-a-dos book about the artist's experience overcoming breast cancer.
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About the subtle yet powerful influence that memory has on daily life. Personal history, while seemingly rooted in fact, may contain more meaning as narrative than it does as documentation of truth. In the form of a tablet with sliding pages, True to Life offers an innovative physical structure which corresponds to the shifting nature of memory, allowing the reader to create different combinations of text and image and thus alter the content of the piece, deliberately or by chance, with each reading.
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Stylized digital manipulation of portraits housed in laser imaged thick poly vinyl pages.
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Romano Hänni, Catalog: "The proportions of this handprinted book are 2:3, and the height and the width of the paper are divided into a grid of twelve parts. The intention was to prepare and present action, vision, thought, and reading via manual typesetting and printing on a hand press. The design considers what is available in the type shop: letters, typographic signs, brass lines and wood engravings that were manufactured in Paris around the year 1915. Each double page is an illustration of a visual, social, mathematical, or scientific theme. "After removing the dust jacket, you can fold the pages out as one strip with a length of 336 centimeters. The strip is composed of four printing sheets."
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Romano Hänni, Catalog: "Seventeen years after creating the first part, the second part of 'Typographic Notes' was produced in the years 2009/2010. Its content deals with topics such as justice, perception, reality, and mentatlities. "As a preamble, a part of Utopia written by Thomas More in the year 1516 is printed. In the text, the ruthless scheming of the rich is revealed. Today’s manager capitalism is the result of this ruthless scheming, an economy of self-enrichment. "The global exploitation of the people is carried out by private transcontinental companies of the industry, service, trade, and banking sectors. Profit is their religion, world domination their goal."
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Photographically illustrated cover sheets with letterpress and cut-out widows. An ironic change in the backing photographs, set-up by the narrative letterpress, is revealed as each page is opened further. Edition limited to 500 copies. Savannah College of Art and Design owns edition number 177/500. Signed by the author/book artist.
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Handset type on antique maps. Letterpress printed in Basel, Switzerland. Aviary Press.
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"A prose-poem memoir told in fragmented narrative with colorful illustrations and quotes from the artist's mother. Silkscreen printed in 13 colors."--WSW Website.
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